JULIA LEZHNEVAHANDEL

Julia Lezhneva's bell-like soprano is one of the most exciting emerging voices around, and she doesn't disappoint in this recital of early Handel. Surely no instrumentalist's fingers can move faster than Lezhneva's vocal cords; she is able to somersault with the violin, hold her tone straight like the oboe, and then out-trill both of them. So there is lots to admire here -- but also lots to love . . . the final number ¿ an aria for Beauty from "The Triumph of Time and Truth" -- is meltingly worthy of the character. She is serious and choirboyish in the church numbers, then brings a touch of sensuality to her aria from "Apollo e Dafne" . . .

Record Review /
Erica Jeal,
The Guardian (London) / 12. November 2015

Her long-held notes in "Per dar pregio all'amor mio" are unwavering, while the fluttering coloratura passages separating them are positively birdlike; and the clarity and power of her intonation in "Disserratevi, o porte d'Averno" is quite outstanding. Lezhneva proves equally adept at secular and sacred demands: her "Salve Regina" is a model of heavenly imploring, while the inveigling allure of Pleasure in "Lascia la spina" is most subtly applied. She's sensitively supported by the tender attentions of period ensemble Il Giardino Armonico and the gossamer flute of their conductor Giovanni Antonini.

Record Review /
Andy Gill,
Independent (London) / 13. November 2015

The young soprano has a fascinating voice . . . she is such a talented and committed artist . . . plus her joy of singing is palpable . . . She articulates her texts with clarity, has fearless vocal attack, some surprising reserves of sound and an astounding fluency, not to mention a killer trill. Lezhneva and conductor Giovanni Antonini really work with, and off, each other, and consequently the recording becomes something thrilling. This is one of the best releases of 2015 and thoroughly recommended.

. . . glorious-toned . . . the fast arias are exciting stuff, and Lezhneva even manages to articulate some of the anger in the "Trionfo". The aria from "Rodrigo", a statement of constancy, is beautifully sung, with fine diction and immaculate tone, with long breaths and a lilting rhythm, and is aided by Sinkovsky's finely etched violin. Lezhneva manages to sound like a boy treble in one or two of the religious arias (Salve Regina), which is lovely, but she also is womanly (if a decidedly "young" womanly) as Agrippina . . . this CD will delight you.

There can be little doubt that the Russian soprano Julia Lezhneva is one of today's most prodigiously gifted singers. The voice itself is a staggeringly lovely instrument, possessing as it does a youthful purity that at the same time admits to an intoxicating creaminess hinting at something altogether less innocent. And if you want an unforgettable example of that here try "Felicissima quest'alma" from "Apollo e Dafne", where apparent artlessness is undermined by Lezhneva's weightlessly floated but subtly nuanced lines. These are indeed sounds to ravish the senses! Then there is the technique, technique that includes breath control that allows unwavering sustained notes . . . And a technique that at the other end of the scale allows for clean articulation of meteor showers of semiquavers at tempos that might be considered distinctly risky and, so very rare today, the ability to deliver a perfectly executed trill, often over several bars and even as the singer is employing her utterly exquisite "messa di voce" . . . My admiration for Lezhneva's artistry knows no limit . . .